As a photographer Ismo Kajander springs from the soil of visual
art. His roots are in fine art whilst he himself is constantly reaching
for the future. Part of the body of this work belongs to photography.

The personality of the artist combines
the roles of visual artist, photographer,
critic, gallerist and teacher.
Ismo Kajander has always been an
intellectually refreshing questioner. He is
not content with providing ready answers
but challenges viewers to ask their own
questions.

Producing pictures is an intellectual
game. This is clear from the Dada statues
and object compositions as well as from
the construction of models, the artist's
own personal image, and photographs.
Behind everything there is always thought
- form alone is meaningless.

Multilayered and multidirectional dimensions, quotations and footnotes, care
and fastidiousness about small details are some of the most prominent
features of the artist. Dada rejected all that was old, it wipes the
slate clean. It denied art - only to become part of it.

After Dada, it is difficult to find anything for aesthetic experience
to conquer. Or could photography be - or have been - the "terra incognita"
of art? For a visual artist putting emphasis on the purposeful, changing
over to photography signifies consistency of purpose.

The camera is the bicycle of visual art. The world rushes past the
photographer, subjects and ideas fall to the wayside both left and
right. The wandering, for days on end, with brushes and colours, has
given way to a fraction of a second. In a time shorter than it takes
for a thought to be formed in consciousness, the subconscious rushes
off through time and space. Thoughts crystallise in black silver.

Apart from the instant, fast visual results of photography, one
added attraction is the possibility of using a realistic, documentary
language on a fresh level. The possibility of reporting on the world
at the same time both in grotesque and sympathetic terms.

What is more beautiful than reality? The drama hidden under unpretentious
appearances? A small gesture, a touch of fingers, a look that tells
you a whole life story?

Reality opens up in front of the photographer. He will have to have
the courage to accept the challenge.

Does not an artist always search for the truth, even when he is telling
a lie? The cross drawn over a mummified, dead mouse reminds one of
an old standard of rebellion. And it is to a rejection of everything
conventional to which this picture incites you: it is a violent protest
against giving in, a protest against death.